[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:up-with-the-lark":3},"title: Up with the Lark\ncomposer: Jerome Kern\nstyle: Medium jazz waltz\nkey: C\ntime: 3\u002F4\nform: ABC, 64 bars\nrecording: Bill Evans; The Tokyo Concert; Fantasy; 1974\nyoutube: ts3QHuGJHcs\n# analysis: 2026-10-19, rules v2; C\n# recording: recorded live 1973-01-20, Yubin Chokin Hall, Tokyo; Evans, Eddie Gomez, Marty Morell; Fantasy F-9457, released August 1974 (also CBS\u002FSony SOPM-40 in Japan as Live in Tokyo); chart is \"as played by Bill Evans\", and this is his first issued recording of the tune; sources: Wikipedia, jazzdisco.org; video: \"Provided to YouTube by Universal Music Group\", Tokyo Concert (Fantasy ℗ 1974), 6:47 vs 6:36 listed for the LP, the same performance\n# as played by Bill Evans; solos on the form (ABC); after solos, D.S. al Coda\n# the book: \"Use chords in parentheses for solos.\"\n\n# bar | chord\n# the intro is piano only\n\nsection: Intro\nkey: C\n1  | CMaj7\u002FG      # tonic: the 4th is in the key\n2  | C6\u002FG         # tonic: the 4th is in the key\n3  | G9sus4       # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | G7           # V7 of C: natural tensions\n5  | CMaj7\u002FG      # tonic: the 4th is in the key\n6  | C6\u002FG         # tonic: the 4th is in the key\n7  | G9sus4       # static sus: Mixolydian\n7  | Ab13\u002FG       # tritone substitute: resolves down a half step to G13\n8  | G13          # V7 in C, not resolving: natural tensions\n8  | G9#5         # V7 of C: #11 and b13 from the symbol\n9  | CMaj7\u002FG      # tonic: the 4th is in the key\n10 | C6\u002FG         # tonic: the 4th is in the key\n11 | G9sus4       # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | G7           # V7 of C: natural tensions\n13 | C6           # tonic: the 4th is in the key\n14 | Eb13         # V7\u002FbVI in C: the #11 is in the key\n15 | AbMaj7       # ♭VImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n16 | G7#5#9       # V7 of C: b9, #9, #11 and b13 from the symbol\n\nsection: A\nkey: C\n1  | C6           # tonic: the 4th is in the key\n2  | G9           # V7 of C: natural tensions\n3  | C69          # tonic: the 4th is in the key\n4  | G9sus4       # static sus: Mixolydian\n4  | FmMaj7       # from the symbol: minor-major 7th\n# alt (solos): bar 4 (G9)\n5  | Em7(add11)   # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Am7(add11)   # ii of D13: Dorian\n8  | D13          # V7\u002FV in C: natural tensions\n9  | Dm7(add11)   # ii of G13: Dorian\n10 | G13          # V7\u002FI in C: natural tensions\n11 | Dm9          # ii of the ii–V to C\n12 | G13          # V7 of C: natural tensions\n13 | C69          # tonic: the 4th is in the key\n14 | Eb13         # V7\u002FbVI in C: the #11 is in the key\n15 | AbMaj7       # ♭VImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n16 | G7#5#9       # V7 of C: b9, #9, #11 and b13 from the symbol\n# book: CMa13(#11)\n@segno 1\n\nsection: B\nkey: C\n1  | C6           # tonic: the 4th is in the key\n2  | G9           # V7 of C: natural tensions\n3  | C69          # tonic: the 4th is in the key\n4  | Gm7          # a borrowed minor chord: Dorian, its own key\n5  | F#m7(add11)  # ii of the ii–V to E\n6  | B7           # V7\u002FIII in C: b9 and b13 are in the key\n7  | E69          # a non-tonic major chord: Lydian\n8  | C#m7         # a borrowed minor chord: Dorian, its own key\n9  | F#m7(add11)  # ii of the ii–V to E\n10 | B7           # V7\u002FIII in C: b9 and b13 are in the key\n11 | EMaj7        # a non-tonic major chord: Lydian\n13 | Fm7(add11)   # ii of the ii–V to Eb\n14 | Bb7          # V7\u002FbIII in C: the #11 is in the key\n15 | Eb69         # ♭III6, borrowed from C minor: Lydian (its ♯11 is in the key)\n# alt (solos): bar 16 (Eb6\u002F9)\n17 | A13          # VI7 in C, not resolving: the 13 from the symbol\n18 | A7#5         # V7\u002FII in C: the b13 is in the key, the #11 from the symbol\n19 | DMaj7        # a non-tonic major chord: Lydian\n21 | B\u002FG          # a non-tonic major chord: Lydian\n# alt (solos): bar 21 (GMaj7)\n22 | A\u002FF          # a non-tonic major chord: Lydian\n# alt (solos): bar 22 (FMaj7)\n23 | G\u002FEb         # V without its 7th: Mixolydian, the key’s own notes\n# alt (solos): bar 23 (EbMaj7)\n24 | F\u002FDb         # IV: the #4 is the key’s 7th\n# alt (solos): bar 24 (DbMaj7)\n\nsection: C\nkey: C\n1  | C6           # tonic: the 4th is in the key\n2  | G9           # V7 of C: natural tensions\n3  | C69          # tonic: the 4th is in the key\n4  | FmMaj7       # from the symbol: minor-major 7th\n5  | Em7(add11)   # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n6  | Am7(add11)   # ii of D7: Dorian\n7  | D7           # V7\u002FV in C: natural tensions\n8  | Ab7          # ♭VI7 from the parallel minor: Lydian Dominant, it returns to I\n9  | CMaj7\u002FG      # tonic: the 4th is in the key\n10 | C6\u002FG         # tonic: the 4th is in the key\n11 | G9sus4       # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | G7           # V7 of C: natural tensions\n13 | C6           # tonic: the 4th is in the key\n14 | Eb13         # V7\u002FbVI in C: the #11 is in the key\n# bars 14–16: solo break\n15 | AbMaj7       # ♭VImaj7, borrowed from C minor: Lydian (its ♯11 is in the key)\n16 | G7#5#9       # V7 of C: b9, #9, #11 and b13 from the symbol\n@coda 8\n# the coda sign stands before bar 9: on the D.S., play to bar 8 and take the coda\n@nav 16 D.S. al Coda\n\nsection: Coda\nkey: C\nbars: 20\n1  | CMaj7\u002FG      # tonic: the 4th is in the key\n2  | C6\u002FG         # tonic: the 4th is in the key\n3  | G9sus4       # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n4  | G7           # V7 of C: natural tensions\n5  | CMaj7\u002FG      # tonic: the 4th is in the key\n6  | C6\u002FG         # tonic: the 4th is in the key\n7  | G9sus4       # static sus: Mixolydian\n7  | Ab13\u002FG       # tritone substitute: resolves down a half step to G13\n8  | G13          # V7 in C, not resolving: natural tensions\n8  | G9#5         # V7 of C: #11 and b13 from the symbol\n9  | CMaj7\u002FG      # tonic: the 4th is in the key\n10 | C6\u002FG         # tonic: the 4th is in the key\n11 | G9sus4       # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | G7           # V7 in C, not resolving: natural tensions\n12 | G9sus4       # V7sus4 before its dominant: Mixolydian, the 4th is a chord tone here\n12 | G7#5b9       # V7 of C: b9, #11 and b13 from the symbol\n13 | C69          # tonic: the 4th is in the key\n13 | Gm7(add11)   # a borrowed minor chord: Dorian, its own key\n14 | F#m7(add11)  # a borrowed minor chord: Dorian, its own key\n14 | Fm7          # a borrowed minor chord: Dorian, its own key\n14 | FmMaj7       # from the symbol: minor-major 7th\n15 | Em7(add11)   # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n15 | Bb9#11       # tritone substitute: resolves down a half step to Am7(add11)\n16 | Am7(add11)   # ii of D9#11: Dorian\n16 | D9#11        # tritone substitute: resolves down a half step to DbMaj7#11\n16 | DbMaj7#11    # from the symbol: #11\n17 | CMaj9#11     # from the symbol: #11\n",1793484804273]